Filmnation Südkorea. Der Künstlerische Und Kommerzielle Erfolg Des „New Korean Cinema“
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___________________________________________________________________________ Ulf C. Lepelmeier Filmnation Südkorea. Der künstlerische und kommerzielle Erfolg des „New Korean Cinema“ Münster: Nodus Publikationen 2016. (Film und Medien in der Diskussion. 22.). ISBN 978–3–89323–374–8 / ISSN 0939–9410 ANHÄNGE 1. Interviewleitfaden..................................................................................................... 2 2. Transkripte der Interviews...................................................................................... 6 1. Hong Sun-Myeon .............................................................................................. 6 2. Choi Hong-Suk.................................................................................................. 9 3. Ko Mori............................................................................................................... 13 4. Nam Erica........................................................................................................... 16 5. Kim Jina.............................................................................................................. 20 6. Lee Seung-Hee................................................................................................... 23 7. Kim Eugene........................................................................................................ 26 8. Woo Luka........................................................................................................... 29 9. Lee Samantha..................................................................................................... 32 10. Jung Soojin.......................................................................................................... 35 11. Kim Woody........................................................................................................ 39 12. Cleary Martin..................................................................................................... 42 13. Paquet Darcy...................................................................................................... 52 3. Thematisches Ordnen der Interviews.................................................................... 56 4. Thematischer Vergleich und Konzeptualisierung ............................................... 84 5. IHS Screen Digest Datensätze................................................................................. 102 6. Koreanische Filme in den offiziellen Wettbewerben der Filmfestivals von Berlin, Cannes und Venedig ............................................. 107 7. Die koreanische Filmindustrie im Vergleich zu anderen nationalen Filmindustrien .................................................................. 111 8. Die Verteilung des Filmumsatzes auf die verschiedenen Absatzkanäle......... 114 ___________________________________________________________________________ – 1 – ___________________________________________________________________________ ANHANG 1: INTERVIEWLEITFADEN 1) Introductory questions — Self-Introduction of interviewee + his/her work + his/her attitude towards „New Korean Cinema“ 소개질문 - 본인의 직업과 NKC에 대한 관점을 설명하시오. a) What is your name and what is your profession? 당신의 이름은 무엇이고 어떤 일을 하십니까? b) Please describe your company and its business orientation? How would you describe your field of activity. 당신의 회사와 사업방향을 설명하십시오. 당신의 업무에 관해 설명한다면? c) How many movies do you watch during a year approximately? 당신은 1년에 영화를 몇 편이나 보십니까? d) What do you personally associate with the term „New Korean Cinema“? 개인적으로 당신은 NKC와 무슨 관련이 있습니까? 2) Success factors of the Korean film industry + audience enthusiasm 한국영화산업의 성공요인+관객의 열광 a) What do you think which are the success factors behind the rapid development of the Korean film industry during the last years of the millennium until 2006? 한국영화산업의 급격한 발전 뒤에 있는 성공요인은 무엇이라고 생각합니까? b) Please rate the importance of the following factors for the successful development of the Korean film industry: 한국영화산업의 성공적인 발전을 위한 요인들의 중요도를 매기시오. (1: not important ..... 5: very important) — Oligopoly structure of the film industry (With CJ Entertainment, Showbox Mediaplex and Lotte entertainment hold consistently over 50% of the market [production+distribution]) 영화산업의 모노폴리(monopoly독과점) 구조 (CJ엔터테인먼트, 쇼박스, 롯데엔터테인먼트가 국내 영화시장의 50% 이상을 지속적으로 점유) (1 2 3 4 5) ___________________________________________________________________________ – 2 – 1. Interviewleitfaden ___________________________________________________________________________ — State protective measures and government incentives (Screen quota system, national subsidies, tax reliefs) 국가 보호적 조치와 정부 인센티브 (스크린 쿼터 시스템, 국가 보조금, 세금감면) (1 2 3 4 5) — Innovative financing models (Venture Capital Funds, Netizen Funds) 혁신적인 재무 모델들 (벤쳐 캐피탈 펀드, 네티즌 펀드) (1 2 3 4 5) — Higher production standards 더 높은 제작 표준 (1 2 3 4 5) — „Hallyu“ – phenomenon (for the Export Filmmarket) „한류”현상 (영화수출시장) (1 2 3 4 5) — „New Korean Cinema“ as a trendy label/brand 트렌디 브랜드 (유행을 선도하는 브랜드)로서의 „NKC” (1 2 3 4 5) — „New Korean Cinema“ as a cinema style between mainstream and arthouse cinema 주류영화와 예술영화 사이의 영화스타일로서의 „NKC” (1 2 3 4 5) — „New Korean Cinema“ as a reflection of the Korean society (reflecting of especial Korean themes / mentality) 한국사회를 반영하는 „NKC” (특수한 한국적 테마/정신의 반영) (1 2 3 4 5) c) How do you explain the enthusiasm of the Korean public towards cinema in general and towards the Korean cinema in special? (Koreans go in general about 3 times a year to the cinema, Germans only 1,2 times) Why do you think the ratio of domestic production in Korean cinema box office is so high (compared with other countries)? 일반영화와 특수영화에 대한 한국 대중의 특별한 열광을 어떻게 설명하겠는가? (한국인들은 일반적으로 1년에 3번 정도 극장에 간다. 독일인의 경우 고작 1,2회) 왜 한국영화 박스오피스에서 국내 생산 비율이 높다고 생각하는가? d) Do you think that the Korean development model which made the Korean movie industry so successful nationally and internationally can be transferred to other countries? 한국의 영화산업을 국가적으로, 국제적으로 성공시킨 한국형발달 모델이 다른 국가들로 옮겨갈 수 있다고 생각하는가? ___________________________________________________________________________ – 3 – ANLAGE ZU: ISBN 978–3–89323–374–8 / ISSN 0939–9410 ___________________________________________________________________________ 3) „New Korean Cinema“ a) What are the specific characteristics of the „New Korean Cinema“ from your point of view? In your opinion, which factors make the „New Korean Cinema“ so successful? 당신의 관점에서 볼 때 NKC의 구체적 특징들이 무엇인가? 어떤 요인들이 NKC를 성공으로 이끌었다고 생각하는가? b) Would you say that the „New Korean Cinema“ manages in an especial, particularly good way to combine mainstream- with arthouse-elements? NKC가 주류영화와 예술적 요소들을 혼합하는 좋은 방향으로 관리하고 있다고 생각하는가? c) Which three movies would you think are particularly important/trend- setting for the „New Korean Cinema“? Please explain your choice. NKC에 있어 특별히 중요한 역할을 했다고 생각되는 영화 세 편을 골라 이유를 설명하시오. 1. 2. 3. d) Could you please rate the elements in terms of typical or atypical for the „New Korean Cinema“? NKC의 전형적인 혹은 비전형적인 요소들의 중요도를 매기시오. (1: very uncharacteristic ..... 5: very characteristic) — Irony / 비꼼 (1 2 3 4 5) — Black humor / 섬뜩한 유머 (1 2 3 4 5) — Sudden mood swings / 갑작스러운 분위기 변화 (1 2 3 4 5) — Melodramatic / 멜로 드라마틱 (1 2 3 4 5) — Genre Mixing / 혼합장르 (1 2 3 4 5) — Visual ingenuity / 눈에 보이는 시각적 독창성 (1 2 3 4 5) — Explicit representation of violence / 노골적인 폭력묘사 (1 2 3 4 5) — Celebrity cult (actors) / 유명인사 추종 (배우들) (1 2 3 4 5) — Celebrity cult (directors) / 유명인사 추종 (감독들) (1 2 3 4 5) — Confucian values / 유교적 가치 (1 2 3 4 5) ___________________________________________________________________________ – 4 – 1. Interviewleitfaden ___________________________________________________________________________ — Specific Korean themes and topics / 특유의 한국적 테마 및 주제 (1 2 3 4 5) 4) Director Park Chan-Wook and the „New Korean Cinema“ 박찬욱감독과 NKC a) How high would you rate the significance of director Park Chan-Wook for the „New Korean Cinema“? NKC에서 박찬욱감독의 중요도는 어느 정도라고 생각하는가? (1 2 3 4 5) b) What do you spontaneously associate with the films of director Park Chan- Wook? 당신은 박찬욱감독의 영화를 떠올렸을 때 자연적으로 연상되는 것은 무엇인가? c) Which three movies of this director would you evaluate as particularly important? 박찬욱감독의 영화 중에서 특히 중요하게 생각되는 영화 세 편은? 1. 2. 3. d) Which three other Korean filmmakers would you name as particularly relevant for the „New Korean Cinema“-stream? NKC 흐름과 연관되어있는 한국의 영화제작자 세 명은? 1. 2. 3. 5) Future perspectives + marketing perspectives a) Which are the prospects of the future of the Korean movie industry? 한국영화산업의 전망은 어떻다고 보는가? b) Where do you still see potential growth fields for the film industry? 영화산업이 가장 잘 성장할 수 있는 (잠재력이 있는) 분야는 어디라고 생각하는가? c) How could the label/brand „New Korean Cinema „ be positioned even better around the world ? NKC라는 상호가 세계적으로 더 나은 입지를 구축할 수 있는 방법은 무엇인가? Thank you very much for your participation in this study! 설문에 참여해주셔서 감사합니다 ___________________________________________________________________________ – 5 – ___________________________________________________________________________ ANHANG 2: TRANSKRIPTE DER INTERVIEWS INTERVIEW 1: Datum: 10.10.2011 Ort: BEXCO Exhibition Hall 1 (Asian Film Market 2011) Interviewpartner: Hong Sun-Myeon (Busan Film & Visual Industry Association) 1) Introductory questions a) What is your name and what is your profession? My name is Hong Sun-Myeon and I’m working for BIVA as a manager. b) What does the abbreviation BIVA mean? Can you describe your field of activity in a few words? BIVA stands for Busan Film & Visual Industry Association. We mainly try to generate interest in Busan as standpoint for film production etc.. I try to bring companies together, connecting